A Quote by Frances Arnold
I'd like to see what fraction of things that chemists have figured out we could actually teach nature to do. Then we really could replace chemical factories with bacteria.
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Plants with leaves no more efficient than today's solar cells could out-compete real plants, crowding the biosphere with an inedible foliage. Tough omnivorous bacteria could out-compete real bacteria: They could spread like blowing pollen, replicate swiftly, and reduce the biosphere to dust in a matter of days. Dangerous replicators could easily be too tough, small, and rapidly spreading to stop - at least if we make no preparation. We have trouble enough controlling viruses and fruit flies.
I lived right on the borderline of a black neighborhood. So I could go into the black area and then there'd be these ghetto theaters that you could actually see the new kung fu movie or the new blaxploitation movie or the new horror film or whatever. And then there was also, if you went just a little further away, there was actually a little art house cinema. So I could actually see, you know, French movies or Italian movies, when they came out.
[Bacteria] have an incredibly complicated chemical lexicon that ... allows bacteria to be multicellular. In the spirit of TED they're doing things together because it makes a difference.
I made the rules I figured I could be the one to break them. I thought I would write about xenophobia, a hatred of foreigners. After I stated writing the story there was not a foreigner to be had. I did not want to just stick one in there so I could get a title out of it since it seemed like cheating. I never figured out how I could get out of this dilemma so I just called it X and weaved X traits into the story.
'Finally' actually started out as a poem. I always wrote poetry, and pretty soon I figured out that if I could write poems, I could write songs.
I figured that if anyone could be wildly popular in one town, then that could be replicated everywhere, all you have to do is get the word out.
When you think of all the things that are made from oil or in the chemical industry, if in the future we could find cells to replace most of those processes, the ideal way would be to do it by direct design.
We are close to dead. There are faces and bodies like gorged maggots on the dance floor, on the highway, in the city, in the stadium; they are a host of chemical machines who swallow the product of chemical factories, aspirin, preservatives, stimulant, relaxant, and breathe out their chemical wastes into a polluted air. The sense of a long last night over civilization is back again.
If the animators could hide something so secretly that I could watch it numerous times, both on the computer and on the screen, and not pick up on it, then it deserves to be in the movie. But if they had more overt things, I'd often tell them to cut it out. In general, as long as they captured the spirit of the character, then they're fine. But sometimes it took a while, and we had to replace a lot of animators.
I feel like they would just be the funnest people. I wish I could have been friends with Michael Jackson, just because he had the most badass house of all time and I could just go out and go on amusement park rides and then he could teach me how to moonwalk.
There are a lot of technical studio things I've learned or figured out, and I feel like I could use those things to help other people with what they're doing.
When chemists have brought their knowledge out of their special laboratories into the laboratory of the world, where chemical combinations are and have been through all time going on in such vast proportions,-when physicists study the laws of moisture, of clouds and storms, in past periods as well as in the present,-when, in short, geologists and zoologists are chemists and physicists, and vice versa,-then we shall learn more of the changes the world has undergone than is possible now that they are separately studied.
When I was single and on Tinder, that was a good little "Hey, did you ever see this movie?" thing. I would never bring it up myself, but if they mentioned it, then cool, that could work for me. But then on the other hand, if they're like a superfan, that could be weird if that's all they're seeing. They think of you as that character more than who you actually are.
There's a great temptation to throw things in, as you put it, that you think are neat, or that you have a very clear, specific memory of and think you could do a good job writing about. What I find is that it's like a seed you plant. You can try it, and if it will grow and connect with other ideas in the book, and you can see connections that you can actually realize on the page, then you're allowed to leave it in. But if it just kind of lies there and doesn't really add up to anything or there's no chemistry with everything else going on in the book, then you have to take it out.
I know this is stupid, but part of me felt like if I could come see you today, if I could convince you to go with me tonight, then maybe I could still change things. It's dumb, I know. It's not like Levana cares if I, you know, might have actual feelings for someone.
I can replace things, but I could never replace my wife and kids.
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